The Concept of Fashion Trend: meaning, history, connotation...Estudos de Tendências e Branding de...

Estudos de Tendências e Branding de Moda

V.11, N.22 – 2018 E-ISSN 1982-615x

The Concept of Fashion

Trend: meaning, history,

connotation - Amanda Queiroz Campos1

- Brigitte Wolf2

P.31-47

Sent 09/01/18 /Accept 16/03/18

1 Phd, Universidade Federal de Santa Catarina and Bergische Universität Wuppertal

[email protected] / Orcid: 0000-0003-2120-5614 / http://lattes.cnpq.br/9221231968758113 2 Doutora, Universidade de Kassel /[email protected]

Orcid: 0000-0001-9291-2979

mailto:[email protected]

https://orcid.org/0000-0003-2120-5614

http://lattes.cnpq.br/9221231968758113

http://lattes.cnpq.br/9221231968758113

mailto:/[email protected]

https://orcid.org/0000-0001-9291-2979

ModaPalavra e-periódico /DOSSIÊ 32

Volume 11, n.22 – julho-dezembro – ISSN 1982-615x

The Concept of Fashion Trend: meaning,

history, connotation

ABSTRACT

With the intention of contributing to the theoretical deepening of

trend studies, the present research aims to understand the

historical origins and transformations of the term trend and,

more specifically, the fashion trend. The methodological

procedure involved a consistent bibliographical review. Firstly,

we investigated the etymology of the term in Portuguese,

English, and German. In addition, we combined different

consolidated bibliographical references - such as Caldas,

Lindkvist, and Vejlgaard - in order to historically understand the

concept and its applicability. The general interpretation of the

term tendency relates to a force that leads to a finite but

uncertain future. Between 1946 and 1975, trends acquired a

comprehension similar to their current meaning, emphasizing

their economic relevance, which coincides not arbitrarily with the

birth of mass consumption. The contemporary connotation

associates trends to changes and transformations that involve

different sociocultural and economic aspects. In turn, fashion

trends are expressions of sociocultural tendencies in visual and

tactile characteristics applied to fashion products.

Keywords: fashion trend, etymology, significance.

O Conceito de Tendência na Moda:

significado, histórico, conotação

RESUMO

Com a intenção de contribuir para o aprofundamento teórico dos

estudos de tendência, a presente pesquisa aqui apresentada

visa compreender as origens e transformações históricas do

termo tendência e, mais especificamente, tendência de moda.

Para tal, como procedimento metodológico foi desenvolvida

revisão consistente de bibliografia, investigando a etimologia do

termo nos idiomas português, inglês e alemão. Além disso,

buscou-se agregar diferentes referenciais bibliográficos

consolidados nos estudos de tendências – tais quais Caldas,

Lindkvist e Vejlgaard – em prol do entendimento e da aplicação

das tendências no decorrer do processo histórico. A

interpretação geral do conceito de tendência relaciona-se com

força ou vetor que direciona a um futuro finito, porém incerto.

Entre 1946 e 1975, as tendências adquiriram uma compreensão

semelhante à atual, enfatizando sua relevância econômica, o

que coincide não arbitrariamente com o nascimento do consumo

de massa. A conotação contemporânea associa tendências a

mudanças e transformações que envolvem diferentes aspectos

socioculturais e econômicos. Já as tendências de moda são

compreendidas como expressões das tendências socioculturais

em características visuais e táteis de produtos de moda.

Palavras-chave: tendência de moda, etimologia, significância.



1. INTRODUCTION

Names given to children, adherence to certain

scientific theories, the preference for 4X4 trucks, the

world’s recent “gourmetization”, and the aesthetic

changes that renew the wardrobes of fashionistas and

ordinary people are phenomena dictated by the logic of

trend. The literature of the field insists that the

meaning of the term has been emptied, and it is no

surprise that there is uncertainty regarding the

definition of what a trend is, considering that it is quite

a popular term in contemporary culture, and it affects

individuals, companies, and society as a whole

(CALDAS, 2015; VEJLGAARD, 2008).

Colloquially, trends are associated with the

ideas of fashion and novelty, and with the ideas of

anticipation and uncertainty. Clearly, trends are

consubstantial to the idea of fashion (MOCHO, 2012).

In the sense proposed by Mocho, mostly defended by

Kawamura (2014) and that drives the scope of this

work, fashion as a system regards sets of fashion

production, development, and communication. The view

of fashion as an institution covers, more than the

garment production steps and actors, the stages where

the concept and the practice of fashion take place, such

as the fashion press, advertisement, branding, and

retail.

In such context, (fashion) trends appear widely

and are considered by readers to be the most

interesting content of fashion magazines (BAILEY &

SEOCK, 2010). However, the fashion ethos and system

has adapted the original idea of a trend (more

specifically, tendency) to its peculiarities, involving the

concept in the ideas of repetitive volatility,

ephemerality, and renewal. Therefore, this paper will



endeavor the task of conceptualizing trends rather

within the scope of fashion studies.

The English language presents two different

words for trend and tendency, which does not occur in

other languages, such as Portuguese and German. The

differentiation usually defines trend in relation to the

idea of ephemeral novelty and fashion, whereas the

noun tendency maintains associations with areas such

as Statistics and Psychology, referring to a

longstanding inclination and predisposition. On the

other hand, the use of both words as equivalents

causes a great part of the misunderstandings and

connotation wastage when it comes to the

comprehension of such phenomena.

Although considered synonyms, each word

presents particularities and, therefore, specific

associations. The general idea that unites both concepts

consists of the meanings of direction, extension, and

inclination (COLLINS, 2012). The ordinary concept of

tendency implies, however, that the vector or direction

will most likely be achieved, comprising something that

tends to grow and become standard. On the contrary, a

trend – more specifically a fashion trend – will rarely

standardize, for as a characteristic of fashion as ethos,

the wide adoption empties the symbolic meaning of

novelty.

Similarly, to what presently occurs with the

term design, the word trend was extensively used

during the 1990s and 2000s, and forcedly associated

with products and services as an argument,

qualification, or legitimation. Such a situation,

combined with fast fashion logic, has led to a context in

which trends are often perceived as negative, referring

to mere aesthetic alterations, without any reference or

background. Many people disfavor trends, considering

them to be followed by the masses, in opposition to the

expression of one's own individuality, as defined by the

never-ending search of a “newer new” with the goal of

social differentiation (ESPOSITO, 2014).

Fashion trends are phenomena that concern

taste and style. According to Erner (2012) and

Lipovestky (2007), they are convergences of desires



and taste, characterized by cycles of varying duration

and rapid modifications. Despite the fact that quick

renewals respond directly to the fashion industry’s

interests – translated into profit –, every trend involves

two spheres: [a] an arbitrary cultural sphere and [b] a

commercial economic sphere. Hence, this discussion on

the concept of trends regards mostly its meaning rather

than the causes behind the renovation.

This article consists in part of the studies of the

doctoral dissertation entitled “Of tradition and creation:

the discourse of fashion designers on trend report

usage” conducted under the supervision of Luiz

Salomão Ribas Gomez and Brigitte Wolf respectively at

Universidade Federal de Santa Catarina (Brazil) and at

Bergische Universität Wuppertal (Germany). The joint

Doctorate was funded by FAPESC – Fundação de

Amparo à Pesquisa e Inovação do Estado de Santa

Catarina –, CAPES – Coordenação de Aperfeiçoamento

de Pessoal de Nível Superior –, and DAAD – Deutscher

Akademischer Austauschdienst. It seeks to clarify the

meaning and the attributes of a trend and, more

specifically to address the subject within the extent of

the fashion system – thus, fashion trends. Firstly, the

etymological comprehension of the term trend is

presented with the intention of apprehending its origin,

before undertaking the understanding of the history of

its meaning, from its origin to the present day.

2. METHODOLOGICAL PROCEDURES

This work was conducted within the scientific

field of design, justified by the activity of fashion design

and the relevance of trend studies in the field – usually

entitled as fashion or trend forecasting. As Friedman

(2003, p. 1) proposes the field of design has widened

and covers a variety of processes, interfaces, and

artifacts. For the researcher, to conduct research in

design requires comprehending “how things work and

why” because it involves the analysis and explanation

that may lead to a theory. In that sense, this paper

contributes to a deeper comprehension of the



phenomena of trends, by stressing underlying

connotations carried throughout time and still attached

to the concept.

Likewise, one may justify this investigation

supported by Rech (2013, p. 109-110). The Professor

states that research on fashion trends and their

operations in the context of the fashion system

contributes "to the elaboration of theoretical references

[to this and] others important fields for the industrial

enlargement of developing countries, such as Brazil".

Notwithstanding, theoretical investigations contribute to

the strategic applicability of fashion trends, now

understood beyond mere formal alterations.

This research has a qualitative approach, as it

gives priority to deepening the understanding the

connotations and transformations surpassed by the

term. The nature of the study was explanatory, for it

tried to understand how fashion trends evolved to be

comprehended the way they are in the current fashion

system setting. In order to address the main problem,

a systematic theoretical foundation was applied in the

form of documentary research. The review of literature

included the appraisal of books, papers, theses and

dissertations on topics pertaining to this research: the

concept and history of trends, specifically of fashion

trends.

3. ETIMOLOGY3

The etymologic research was conducted firstly

in the Portuguese language, since that is the author’s

native language and, therefore, the language in which

the greater part of this research into fashion trends was

conducted. Subsequently, the article presents

etymologic research conducted in the German language

– due to the second location of the binational Ph.D. –

and lastly, in the English language, which is the

language in which the final dissertation is written. Other

3 Etymology is the study of the composition and origin of words, and

their meaning throughout history.



languages such as French and Czech contributed to the

formulation of the word in the studied languages.

In Portuguese, the word trend has the meaning

of inclination, propensity, disposition, intention,

movement, and determining force (BUARQUE-DE-

HOLLANDA, 1999). The derivation of the Latin adjective

tendente created from the verb tendere formed the

word tendência (MACHADO, 2003). In Latin, the

vocable tendŏ corresponds to the meanings of (1) to

extend; (2) to submit an offer; and (3) to proceed,

resume or continue. In a figurative connotation, the

term corresponds to the actions of tending and leaning

towards (FARIA, 1962). Such a connotation also

relates to an Indo-European root, ten, whose meaning

encircles the idea of stretching, tending, and tensing

(ARTIGUES & ROBERTS, 1997).

In German, the word tendency (Tendenz) is a

feminine noun variant of the French term tendance,

with the definition of direction (Richtung) and

propensity (Neigung). Also, as a reference, the French

word tendre implies the meanings of stretching,

expanding and extending. The Latin term tendere,

which also corresponds to the root of the Portuguese

word, reinforces the concepts of spread and elongation.

Commonly, the word Tendenz is associated with the

word Streben: yearning, longing, striving to achieve

something (KÖBLER, 1995).

The word tendency in the English language

dates from 1620 and originates from the Medieval Latin

term tendentia, varying from the Latin term tendere,

mentioned above. The word tendency refers to the Old

French word tendre, likewise a version with Latin roots

(COLLINS, 2012). However, the term trend is used with

greater recurrence. In this case, the word refers to the

term trendan of the Old English, whose meaning refers

to the verb to turn. According to Lindkvist (2010), the

Northern European word tendr corresponds to the term,

describing the course of a river or maritime currents.

In summary, the words trend and tendency

aggregate the ideas of propensity, inclination, growth,

expansion, driven movement. In addition, due to the

English and German understandings, the term has



connotations of movement and something to be

achieved, indicating a relational condition, and

suggesting the existence of an end (CALDAS, 2015;

RAYMOND, 2010). Based on those meanings, the

semantic concept of trend rests on three main pillars:

(1) otherness, in the sense that a trend exists upon an

external force that attracts or leads it; (2) movement,

identifiable in the ideas of inclination and propensity;

(3) coverage, reporting on the meanings to extend,

expand, and unfold (CALDAS, 2015).

Therefore, a trend (in the general sense of the

word) is the predisposed inclination towards something,

someone or some situation likely to happen in the near

future. Having a final attractive force, the general idea

of a trend is something that tends to reach this

otherness, and therefore, the idea of a trend presents a

sense of finitude; i.e., a situation that will be achieved;

and futurology; i.e., suggesting that the situation will

happen in the future. The relationship of the trend with

the concept of propensity also involves the

consideration of uncertainty: although the situation is

likely to happen, it has not yet happened, and there is

no assurance that its course will not change.

Of course, the ideas associated with the term

have varied throughout time, as well as the scientific

paradigm in vogue, and the situation and aim of what it

was used. In order to identify how the original

connotations and meanings acquired their current

configuration, a historic bibliographical study was

conducted, of which a summarized report will be

presented in the following pages. The goal is to

elucidate how the first connotation of the term, used as

romantic inclination during the Middle Ages, was altered

to the current meaning and gave birth of a vast range

of related terms, such as trendy – one who is up-to-

date with trends – and trendsetter – influencer who

defines and establishes trends –, which date from the

1960s (COLLINS, 2012; HIGHAM, 2009).



4. HISTORY

Historically, the first usage of the word

tendency occurred in France during the Low Middle

Ages, more specifically the thirteenth century. The term

was uttered with the connotation of inclination.

However, one would apply it to suggest a romantic

inclination to another, as a manifestation of romantic

love, which characterized the period of the rise of the

bourgeoisie (CALDAS, 2015; SANT’ANNA, 2009). The

meaning reinforces the sense of otherness, for it

requires an external element, that is, something or

someone who causes the attraction.

The word tendency was rarely used until the

eighteenth century, when recaptured by science with

the meaning of strength in a specific direction, tending

to an end, dynamism, effort, and impulse. It was due to

the time, during the Enlightenment, French Revolution,

and the encyclopedia, that the concept of tendency

adopted one of its most recurrent associations:

finiteness, a movement that expends itself. During the

same period, the area of Physics consolidated the

meaning of trend, corresponding to attraction and

force, which is used by physicists and other scientists to

the present day.

Conversely, the word tendency reached

considerable propagation only after the nineteenth

century, when psychologists started employing it in the

plural form – tendencies – in the sense of propensity or

predisposition of a certain individual in acting in a

certain manner; his or her particular modalities of

desire and orientation of individual needs. Under this

prerogative, psychologists added a crucial signification

to the contemporary meaning: the pointed direction

that will not necessarily or completely be reached or

fulfilled (CALDAS, 2015). Such an idea is central to the

associations of uncertainty that are emblematic of the

study, research, and adoption of trends – and

evidently, fashion trends.

It was also during the nineteenth century that

the word acquired its evolutionary connotation, and

which, for many, seems intrinsic to the notion of a



tendency or trend. Contemporaneously to the Industrial

Revolution, the enrichment of European potency and

positivism, the meaning of tendency assimilated the

implications of progress and evolution, suggesting that

history treads a straight and direct path to an

inexorable fate (Ibid). The positivist doctrine sustained

by Comte grounds the current understanding of the

concept of tendency – and, as a consequence, of the

trend. One notices such associations in the affirmation

of William Gibson (2003), who states: “The future is

already here –it’s just not evenly distributed”, and of

Florence Müller (2012), who considers the history of

trends as the evolution of practices.

Also, in the nineteenth century, with the

growing popularity of statistics, the word tendency

began to be associated with mass and demographic

movements and data, widely used by the traditional

fields of sociology and nature sciences. For the greater

part of the twentieth century, economists and

statisticians would use the word in relation to the

findings of their research. In such scientific fields, a

tendency is a direction a certain curve takes on a

graph. Statisticians commonly apply the word tendency

when the direction of a curve is not completely evident

(VEJLGAARD, 2008). It is noteworthy that the concepts

of stretching results, broadly used in statistics, echo the

meanings of the words tendency and trend, and the

practice of trend studies.

The first record of the word trend to designate

an object in the field of design is from the year 1936, in

the pages of a magazine which itself was entitled

Trend. The DIA – Design and Industrial Association

established in 1915 – edited the magazine. The English

Association had similar goals to the Deutscher

Werkbund (German Association of Craftsmen) formed

in 1907: to promulgate cohesion among designers,

producers, industries, dealers, and retailers; as well as

a better understanding of what should be perceived as

good design by the public, regarding design items for

the household and daily routine (MONÇORES, 2013).

Between 1946 and 1975, trends acquired a

comprehension similar to their current meaning,



emphasizing their economic relevance. Their

emergence in this scenario coincides not arbitrarily with

the birth of mass consumption, which inaugurated a

period designated as “The Glorious Thirty”, in allusion

to its duration. It is evident that the objective of

advances in industry and productivity were and are

concerned with programming continually renewed

income (ERNER, 2012). The fashion industry adopted

an institutionalized and edited form of trends only in

the last third of the twentieth century. However, from

then on, the interest in trends is an indissoluble part of

people’s lives (VEJLGAARD, 2008).

Individuals were avid for novelties, and the

system developed after the Industrial Revolution had

the ability to provide them. With “innovation” as the

main engine of the system, the contemporary term

planned obsolescence replaced creative destruction, a

concept of the 1980s. Trends, with a specific focus on

fashion trends, occupy a central place in society and

the economy because they solve the contradictions of

capitalism: to produce the same consumer goods

without interruption (ERNER, 2012). By producing

limited quantities of certain products in a series,

industries introduced innovation in every series of

product, encouraging consumers to renew their goods;

i.e., every new offer has possible demand.

The historical literature produced about the

constant change phenomenon – referring to a period

when fashion trends were not yet institutionalized –

often uses the terminology fashion or, in the plural

form, fashions. Immanuel Kant, for example, uses the

term fashions. When considering fashions, authors deal

specifically with changes elapsed due to the taste for

change – which overcomes the limits of apparel and

clothing and reaches areas considered traditional, such

as academia. There may be emotional, intellectual,

and even spiritual trends, since a trend is the direction

in which something tends to move and provokes a

consequent effect on culture, society, and on the

business sector in which it develops (RAYMOND, 2010,

p.14).



Trend forecasting is mostly associated with

clothing and apparel – commonly referred as the

fashion industry or sector –, although it can be applied

in different social contexts. This dates from the

nineteenth century and is explained by, among other

reasons, the perception of the accelerated pace with

which changes occur in the world of clothes,

accessories, and hairstyles. After the rise of prêt-à-

porter in 1948, the idea of the trend as a renewed

perspective on aesthetic aspects of clothing items

ensues. This was due to the institutionalization of

fashion trends, by means of a specific calendar for the

launch of novelties in the fashion industry, developed

by the Comité de Coordination des Industries de la

Mode (Coordination Committee of the Fashion

Industries). Fashion coordination was first legitimized

by the need for the organization of production

according to future demand.

From the 1960s onward, fashion forecasting

became a multimillion dollar business. Companies such

as Peclers, Promostyl, and Carlin long enjoy their

recognized and traditional expertise in providing future

inspiration for fashion designers and for other creative

workers. The world leader in trend forecasting, the

English WGSN, affirms to “define what will happen

tomorrow” (WGSN, 2018). Along with fashion-oriented

trend forecasting, other professionals dedicated

themselves to the research of broader trends, operating

mostly at the consulting level. Some of them are The

Future Laboratory, Trend Watching, Kjaer Global,

Future Concept Lab, Trend Union, IPSOS, Institute for

the future, PSFK, Observatório de Tendências, BOX

1824; among many others.

5. CONTEMPORARY CONNOTATION IN THE

CONTEXT OF TREND COORDINATION AND

FORECASTING

Along with Caldas, who works as a future

consultant, other important trend forecasters have

extensively contributed to the definition of “trend”



within the field of Trends Studies and their proposals

should be considered in this regard at this point, in

order to make clear the several proposals and their

articulations. The authors whose contributions will be

regarded in the topic are the Danish Henrik Vejlgaard -

trend consultant; the Dutch Els Dragt – independent

trend researcher; the Englishman Martin Raymond –

from The Future Laboratory; Peter Gloor – from the MIT

Center for Collective Intelligence –; and William Higham

– The Next Big Thing.

In one of the most recent publications about

trends, Els Dragt (2017, p.58) affirms that “there is no

fixed vocabulary that all trends professionals use”.

Nonetheless, there is a common ground where these

future investigators circulate commonly. For the

aforementioned professional, the idea of the trend is “a

direction of change in values and needs which is driven

by forces and manifests itself already in various ways

within certain groups of society” (Ibid.). The author –

and many others, as we will see – is clear regarding the

main aspect of a trend, i.e., change. For the Dutch, in

order to conduct proper trend research, an investigator

must be able to approximate and distance oneself from

change.

The well-known trend researcher and writer

Martin Raymond affirms that “a trend may be defined

as the direction that something (anything) tends to

move and consequently has an effect in the culture,

society or business sector in which it develops”

(RAYMOND, 2010, p.14). For him, a trend may also be

understood as an anomaly. The idea encircles an

eccentricity, an incongruence or a disruption in the

norm. That is to say, trends consist of changes. More

specifically than Dragt, however, Raymond postulates

that trends consist of the direction taken by the

change.

Agreeing with the previous authors, the also

notorious Henrik Vejlgaard, considers a trend to be “a

social process in which style or taste changes”

(VEJLGAARD, 2018, n.p.). Just as all authors reviewed

to this topic, the Danish believes that trends are an

extensive phenomenon and concern various aspects of



everyday life: from food to television, from dress to

behavior. As some authors, Vejlgaard divides different

types of trends (short and long-term). For him and for

most, fashion trends (fashion changes) are usually

considered fads – trends of extremely short endurance

– because they last only about one season or two

(VEJLGAARD, 2008).

As Gomes (2017, p.5) affirms, one should not

forget to stress that “a trend represents a cultural

behavioral change, a shift in mindsets that can be seen

through small seeds and manifestations of creativity

and innovation in the sociocultural scenarios, [being a]

form of cultural management”. Therefore, despite their

endurance, all trends have a cultural background and

are manifestations of changes in the behavior and

mindset of a society.

In a review made by William Higham in the

book entitled The Next Big Thing, a trend may be

defined as “a line of general direction or movement,

[…] a prevailing tendency or inclination, […], the

general movement over time of a statistically

detectable change [….] or a current style or preference”

(HIGHAM, 2009, p.14-15). The author, however,

considers the definition too wide for its applicability in

marketing albeit all trends are important and may drive

consumer behavior. In order to be considered relevant,

they need to relate to the pace in which consumers

change their behaviors. For such reason, Higham

affirms that short-term changes are useless to

marketing strategy, being reasonable only to tactical

marketing. Hence, “a trend is best defined as: a long-

term change in consumer attitudes and behaviors that

offers marketing opportunities” (HIGHAM, 2009, p.16)

Peter Gloor and the MIT Center for Collective

Intelligence apply future studies under the

denomination of coolhunting. For them, there are

certain criteria to segregate what is a trend and what is

not – what is cool and what is not. Cool things: [1] are

fresh and new, [2] allow participation of a community

and appraise among peers, [3] are fun and interesting,

and [4] give meaning to one’s life. (GLOOR, KRAUSS e

NAAN, 2009, p.1-2).



The practice of future studies produced

consistent bibliography on the subject. Dragt and

Higham agree that there is no exact match in what a

trend is among the practitioners of the field. However,

corresponding aspects can be found – with support in

the already revised theory. Without a doubt, a trend is

a change. More precisely, a trend is the direction given

by the change. Theorists and practitioners agree that

trends manifest themselves widely and influence

various social and cultural spheres, impacting political

and economic spheres. Under an economic bias,

marketing scholars consider relevant only trends that

have an impact on consumer behavior. Such trends can

be applied tactically or strategically, depending on the

typology of the trend itself.

6. CONCLUSIONS

The presentation of the etymology of the term

trend, and its use throughout history, is intended to

clarify the concepts trend and tendency, and how they

were shaped over time by diverse scientific paradigms.

From various sources, the general concept of the word

tendency absorbed the meaning of strength, or vector

that leads to a finite future that is its goal, but whose

reach is uncertain. More specifically relevant to the

present study, the contemporary connotation of trend

conjoins three main historic and economic factors: [1]

the sprouting of a fashion ethos and the rise of the

bourgeoisie in the later Middle Ages, which valued

change, novelty, and renewal; [2] mass production in

the early twentieth century, after the Industrial

Revolution; and [3] the possibility of access to

consumer goods for a great portion of the population.

Related to the market dynamic, this concept

currently comprises aesthetic novelties mostly adopted

by products, which the population will consume in the

future, serving as artifacts of the coordination between

supply and demand. However, trends are not

necessarily fashion trends and do not always involve

economic interest. As market strategies, trends also



refer to a socio-cultural background, even in cases

when the sociocultural explanation for the trend lies

behind the desire and recurrence of change

(SVENDSEN, 2010).

According to the reviewed academic literature,

it is possible to state that trends consist of changes.

They are transformations that involve different aspects

of social, cultural, individual, and aesthetic spheres.

Such transformations are accepted as positive due to

the logic of ordination, renovation, and normalization of

change grounded on the fashion ethos. Trends can be

self-legitimated changes, but they accord more or less

with the spirit of the time. Fashion trends are

expressions of trends – which are socio-culturally

grounded – in aesthetic spheres, mostly by means of

visual and haptic characteristics applied to clothing and

apparel products and are often considered fads or

short-term trends. These momentary trends are of

tactical applicability whereas long-term, more enduring,

trends are suitable for strategic praxes.

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